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Vic-Le-Comte, the Last Sainte-Chapelle | 175 Doi Proc SocTHE Antiq ARTISTIC Scot 147 PATRONAGE (2017), 175–217 OF JOHN STUART: VIC-LE-COMTE, THE LAST SAINTE-CHAPELLE | 175 DOI: https://doi.org/10.9750/PSAS.147.1251 The artistic patronage of John Stuart, Duke of Albany, 1520–30: Vic-le-Comte, the last Sainte-Chapelle Bryony Coombs1 ABSTRACT The Sainte-Chapelle at Vic-le-Comte is one of the most important religious buildings surviving from the 16th century in the Auvergne. It was the last of ten French royal and ducal chapels founded, broadly following the precedent set by Louis IX’s foundation of the Parisian Sainte-Chapelle in 1248. The primary function of this, and the other Saintes-Chapelles, was to provide a dignified structure within which to house fragments of the Passion relics inherited from Louis IX. For their patrons, such foundations served as important public expressions of piety, advertised the patrons’ connections to the French crown, and simultaneously functioned as valuable diplomatic tools, encouraging important guests to venerate their relics. The Sainte-Chapelle at Vic-le-Comte has received limited scholarly attention, particularly in relation to its patron John Stuart, Duke of Albany, and his position as Regent of Scotland. This paper examines this foundation and its ambitious programme of decoration in relation to the aims and ambitions of its founder. The motivations behind the project are analysed in relation to Albany’s position in Scotland, his growing prominence in France, and his strengthening ties to the Florentine Medici family. Investigated in relation to other examples of his patronage, Albany’s foundation demonstrates how issues of ancient lineage, sacred kingship, and dynastic commemoration were of central importance. Louis IX’s acquisition of the Crown of Thorns last Sainte-Chapelle to be built in France was in 1239 and other relics, including fragments founded in 1520 by John Stuart, Duke of Albany. of the True Cross in 1246, inspired him to Albany was born in the Auvergne in 1482. He commission a fitting chapel to be built in which was the son of Alexander Stuart, Duke of Albany: to house them. The chapel was built within the the second son of King James II of Scotland and royal palace on the Ile-de-la-Cité, Paris. It thus Mary of Gueldres.4 At an early age, Albany performed a double purpose as a reliquary church entered the court of Louis XII, and in 1505 and a palace chapel. It was richly decorated with married his cousin, Anne de la Tour. This match sculpture, stained glass and painted decoration. secured him the titles of comte de Boulogne, The chapel is today considered among the highest de la Marche and d’Auvergne. A pivotal point achievements of the Rayonnant period of Gothic in Albany’s career came on 9 September 1513, architecture.1 The term Sainte-Chapelle was also when King James IV was killed at Flodden, applied to a number of other buildings which leaving the infant James V as his successor. ‘copied’ Louis IX’s original structure, in that Albany became heir presumptive and, almost they were royal, or ducal, chapels following a immediately, ambassadors were dispatched from broadly similar architectural form, built to house Scotland to Louis XII, to remind him of the two relics, particularly fragments of Louis’ Passion countries’ special bond, and request that Albany relics deriving from royal gifts.2 The foundation travel to Scotland.5 Margaret Tudor forfeited of such a chapel required papal approval and was, her position as regent in 1514 by marrying furthermore, exempt from local jurisdiction.3 The Archibald Douglas, sixth earl of Angus, thus 1 [email protected] 176 | SOCIETY OF ANTIQUARIES OF SCOTLAND, 2017 causing Albany to be proclaimed regent.6 Albany chapel was so cramped, dark and gloomy that travelled to Scotland three times over the course the canons and the faithful were hindered in of his regency.7 their attempts to celebrate the divine office. The That Albany and his wife, Anne de la Tour, Sainte-Chapelle was constructed on the site of founded a Sainte-Chapelle adjoining their ducal an older Romanesque chapel adjoining the ducal château at Vic-le-Comte, during the period that château.13 Albany’s initial plans for the foundation Albany was acting as regent of Scotland, has were likely underway c 1518–19 and surviving received little scholarly attention.8 The purpose documentation suggests that in 1529 Albany was of this paper is to examine this foundation, and its still preoccupied with commissioning decorative extensive programme of decoration, in relation features for his new place of worship. Thus, to Albany’s position at this time: as regent of the construction and decoration of the building Scotland, an important nobleman and military spanned the 1520s. commander in France, and as valued kinsman of A 17th-century copy of an apparently much the Medici family in Italy. The paper analyses older document, made by the French scholar the theoretical framework that underpinned Étienne Baluze, provides a glimpse into the this project and highlights the impetus behind manner in which the divine service was performed the foundation and its complex programme of within the chapel.14 The document records the decoration. presence of eight vicars or chaplains presiding over the ceremony, testifying to the munificence of the founders, while the details of the service THE FOUNDATION eloquently attest to the great importance placed on venerating one’s ancestors and honouring the On 21 June 1520, Pope Leo X granted a papal dead. The document also provides evidence of bull, at the request of John Stuart, Duke of Albany and his wife’s intentions: to provide a Albany (1482–1536), and his wife, Anne de la grand setting for the commemoration of their Tour (1496–1524), to authorise the foundation ancestors and to, henceforth, house the sepulchres of a collegiate church in order that they might of the counts of the Auvergne. Furthermore, two provide a dignified structure within which to of the three masses assigned to the salvation of house a number of precious relics: a thorn from the family were also to provide for the salvation the Crown of Thorns and a fragment of the True and prosperity of the founders; the preservation Cross.9 A chapel was to be erected adjoining of their memory and the salvation of their souls the grand ducal château at Vic-le-Comte, being of primary importance.15 Their desire was, founded under the double invocation of ‘the therefore, to found a chapel with a treasury, seal Saintly Crown of Thorns of Jesus Christ and of and other privileges accorded to an institution Saint John the Baptist’, the patron saint of the of this nature. The foundation was to support a founder, and was to be exempt from episcopal dean, eight canons in receipt of prebends, eight jurisdiction.10 in receipt of semi-prebends and four novices.16 The same pope, under a second papal bull When Anne de la Tour died in 1524, her dated to 1 December 1521, conferred a number will stated that she left all her burial and funeral of indulgences on those who used the chapel.11 arrangements in the hands of her husband and was Specifically, he granted the sanctuary the thus likely interred in the Sainte-Chapelle.17 When privilege of the Roman stations. Thus, the faithful Albany died at Mirefleurs in 1536, it appears that who visited the Sainte-Chapelle on specific feast he joined his wife and was also interred there. In days could earn the same indulgences as if they the 17th century, Baluze recorded a transcription had visited the churches of Rome designated for of a plaque which marked the resting place of stations.12 This document, furthermore, explicitly the founders’ hearts, located at the altar of the details the wish of the founders to create a chapel.18 Following Albany’s death, and in magnificent building, noting that the existing the absence of any legitimate heirs, the Sainte- THE ARTISTIC PATRONAGE OF JOHN STUART: VIC-LE-COMTE, THE LAST SAINTE-CHAPELLE | 177 Chapelle passed to Catherine de Medici and thus ground floor was originally accessed through a to the French Crown.19 door sheltered by a porch, now walled up, that was situated in the first bay of the north wall. Originally the upper chapel was accessed directly THE PHYSICAL STRUCTURE from the château by a door on the west side. This allowed the Duke and his wife to move directly The Sainte-Chapelle at Vic-le-Comte is to their oratory from their apartments situated on composed of a single nave of four bays, closed to the first floor of the château.21 the east by a three-sided polygonal choir, covered In the north wall a spiral staircase leads by a ribbed vault (Illus 1). The chapel, which from the ground floor to the roof. Two auxiliary forms the choir of the current extended building, spaces, accessible from the inside, also along measures 18m × 9m.20 It consists of two levels, the north wall, confer an irregular character separated by a gallery that runs along the inside to the perimeter of the edifice. The three-sided wall. The chapel is illuminated by three large apse is preceded on the north side by a small stained glass windows situated in the apse, at extension which houses the sacristy. Visible the level of the gallery (Illus 2). Access to the traces of archivolts framing small Romanesque lower chapel area was added in the 19th century, openings suggest that the founders, for the sake through a door on the south side.
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